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Emilie identifies herself as an independent researcher-curator, and her practice revolves around exploring alternative genealogies across East Asia, through media technology and material culture, experimental moving image and performativity, as well as the expanded fields of documentary and critical visual studies.

2022 Jan 5-14; Feb 11-27

Nothing Has Happened 

at HART Haus & Floating Projects


2021 Sep-Oct 

Co-Curator (with Elysa Wendi)
Performative Doc

at Tomorrow Maybe, Eaton HK

screening and exhibition
(part of the Jumping Frames 2021)

As the only festival of its kind in Asia, it features hybrid forms of moving images related to dance and performance. Participating as a co-curator this year, I have formulated the part of “Performative Doc” which will be unfolded in both screening of shorts and exhibition in a gallery.

2017 May:
Co-Curator (with Cheung Tit-leung)

Hong Kong Retrospective Documentary Film Festival: From the 1980s to 1997
(Funded by Arts Development Council)

film festival

A research project on the dynamic change and paradigm shift of Hong Kong documentaries from the 1980s to 1997. The aim of the project was to address the history of local documentary through social change and technological trajectories. 

No Song To Sing (2021) by Chan Hau-chun and Chui Chi-yin; 5-channel video installation.

2017 Nov, Researcher & Curator
The Hong Kong Docuthon
Documenting Hong Kong Culture Masterclass with Ackbar Abbas
In collaboration with Lingnan University Cultural Studies Department
multi-channel screening

This project echoes to scholar Ackbar Abbas’s idea and juxtaposes a compilation of local documentary into a new narrative. My work is to cooperate and negotiate with different parties on the logistic part and conducted research on the curatorial concept.

2018 Nov, Researcher & Co-ordinator
Remembering a Performance (Talk and workshop)
In collaboration with Asia Art Archive and Lingnan University Cultural Studies Department

A cultural event with talk and workshop, including chronological classification, textual transcription, live gaming, and improvised automatic writings, addresses the purposes and limits of memories, and proposes ways by which incomplete and fragmentary documentation can be used to reflect on one’s relationship with historical events.

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